Grateful Dead Live at Carthay Studios on 1966-03-19
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- DeadLists Project
Related Music (Beta) question-dark
Versions - Different performances of the song by the same artist
Compilations - Other albums which feature this performance of the song
Covers - Performances of a song with the same name by different artists
|Viola Lee Blues|
|"I need some Coke..." and "There will be a slight pause..." stage talk|
|One Kind Favor|
|I Know You Rider|
|You See A Broken Heart|
|It's A Sin|
|PA and "tasting" and tuning stage talk|
|Beat It On Down The Line|
|"Just Bearly" PA stage talk|
|"How's the PA now" stage talk|
|Next Time You See Me|
|"take a break" and "ice cream" stage talk|
|Slow R and B instrumental|
|Death Don't Have No Mercy|
|"a little tune now called the..." Midnight Hour|
There is debate over whether this is 3/19/66 or 3/12/66. Deadlists has a good discussion of this issue. The consensus there is that the correct date is 3/12/66. This came to me listed as 3/19/66. This is a better copy than what has been in general circulation. That MAY mean the date that came on it is correct. I don't know.
- 0000-00-00 00:00:00
- Los Angeles, CA
- Run time
- Taped by
- Seed provided by Paul Scotton
- Transferred by
- Tracking by Ihor Slabicky
- Carthay Studios
Subject: Not total pie eye fry
This is the highest-fidelity version of 3/19/66, the LA "Pico" test. Ignoring tunings, the set list is:
Viola Lee Blues
See that My Grave is Kept Clean
I Know You Rider
You See a Broken Broken Heart
I Know it's a Sin
Beat it On Down the Line
Next Time You See Me
[unknown blues instrumental]
Death Don't Have No Mercy
In the Midnight Hour
It's remarkable for being one of the earliest documents - a nearly-complete, Bear-recorded set. And also for being an Acid Test where music was actually played (barely, in Bobby's case). Ironically, they may have been less dosed at this Test than at any given early-'66 show. Pre-primal Dead gives historical glimpses of lexicographical import, rather than the X Factor thrills. These are early arrangements and basic R & B styles. That said, I Know You Rider was used by Jer to stretch out in the direction of '67, rather than purely blues-scaled. This may be the best example of Pig's You See a Broken Heart; better than the studio effort on Rare Cuts, though we only have a couple. The early arrangement of Beat it on Down the Line features an off-key teen named Bobby. Heads Up is the Freddie King cover (cut in the middle). It's the only example, but nothing special - bar-band stuff. Next Time You See Me is the short arrangement. The unknown blues instrumental may be a song Pig was working up. The last two are incomplete. Five mins in to Midnight Jer finds another future groove - momentarily. Check out the poster - Wavy when he was still called "Hugh", and genius musicologist Tiny Tim.
The entire source is pitched slow and needs +2%, except for the last two, which need +3%. The 3/12/66 Danish show, is actually at d1966-02-25_sbd_unknown_20346.
Subject: This is not 3/12/1966
Intersting idea putting this back to mono. If lilrichwhiteboy is willing to stream it, I like to give it a listen.
Subject: Listening Is A Skill, People.
This SBD seeded by Scotton is interesting since it is very different from the existing ambient copy I streamed and recorded years ago, and the other more recent ones I just listened too. The one I copied from this site is much softer and more mono-theistic. This one is straight board - which is very stereo. In fact, Bear's deliberate vocal and instrament stereo division is so annoying with ear phones on, I'm going to work it back to mono in Soundforge. I do have to say it's a really, really clean and upfront soundboard too. Magnificent sound!
And yes, Jerry is a bit high in the mix. But my god, his playing on Heads Up, Stormy Monday Jam, and Midnight Hour is just so incredible, having him that high is absolutely no problem for me. I never thought any white man could play like Earl Hooker or Freddy King. But Jerry could (with apologies to Stevie, Duane, and Eric).
I almost want to cry its so fucking good. That Midnight Hour is simply five star organsmic!
And oh, I'll tell you why this is the greatest white blues band in history. Because Jerry and Ron were both in it! The Midnight Hour cements Pig as the greatest white blues man who ever lived. His riffing and scatting behind Jerry is so hilariously outrageous, Louis Armstrong could take a lesson (Well, maybe I'm being a little hyperbolic).
But that's saying something. Papa John Creach would have been proud (For you newbies, check out Papa's "Bumble Bee" on youtube for pure, unadulterated blues bliss.). One album I will bow my head to and give credit for coming close to Ron and Jerry's duo antics was Jorma and Jack's first album at the New Orleans House in Berkeley.
BTW, duping this download in Soundforge, flipping the channels, and mixing them together sounds a hell-of-a-lot better.
Subject: It is 3/12
Subject: Pico Acid Test
Viola Lee is for discerning listeners only. It really just plods along, and the mix here (and throughout) has Jerry so damned high in the mix you almost literally cannot hear the rest of the band. Given all the amazing performances of this one they did, you can afford to miss this one. Even if the mix *was* corrected, the performance is just too kool-aid meandering; try 2/2/68 instead!
The goods start to arrive with one of those delightful early Riders, and You See a Broken Heart is a *lot* of fun here, Jerry and Pigpen trading vocals. The rest of this thing is a lot of stoned stage banter and instrumental jams (one is cut); Death Don't suffers from a muffled, muddy, inaudible vocal, and Midnight Hour begins well, but Pig's vocals begin to bury themselves under the crushing clarity of Jerry's guitar. It's strange to criticize a '66 show for Jerry being too clear, but there it is. It's like Jer's plugged right into some kind of crystal filter while the entire rest of the band slogs around in the mud. Pig's vocals fade in and out of clarity and the jam is cut, but is fun while it lasts.
Chances are you know what you're getting into with these confusingly labeled, early '66 shows, so take it for what it is. As far as the date, I believe 3/19/66 is the correct one here, since 2/25 (1-8) is actually 3/12. But I'll leave all that to the experts.
Subject: The day / moment of my birth!
BTW, this is an excellent recording for being such an oldie! Great energy too. You know our love will not fade away . . . . ever.
Subject: I work there
Subject: Looks Like 3/19
"UPDATE 1/23/2007 from Paul Scotton ~
David Lemieux, keeper of the vault, has provided a complete set list for 3/12/66. It is:
I think this settles the debate. We should consider what was given to me as 3/19/66 as being 3/19/66."
Since 3/12 appears to be known, then my understanding is this show labeled 3/19 is, or at least is thought to be, 3/19.
Unfortunately the quality suffers a little here compared to a whole bunch of other '66 but it's very easily listenable!
3 stars for the Sound Quality.
4 stars for the show.
10 stars for the historicalness of 1966.